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Polydor. COVER DRIVE - Sparks. DRM Free. DJ-friendly full length tracks. Secure Shopping. What is Album Only? Some artists and labels prefer certain tracks. Bajan four piece pop stars Cover Drive have their latest single Twilight taken apart and rejigged by a host of top names on this new release. Nicola Fasano. Find Cover Drive song information on AllMusic.

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Cover Drive - Sparks Mp3 Download. Description: cool song by SPARKS. i love it ! kbps mb. Youtube Video. Listen to Ameritz Audio Karaoke Twilight (In The Style Of Cover Drive) MP3 song. Twilight (In The Style Of Cover Drive) song from the album Twilight (In The. Free Cover Drive - Bajan Style (Full Length) mp3 download (, MB, kbps)! Save your favorite File size is MB and bit rate is kbps. Please note: Before Matthew Koma - Sparks (Vicetone Remix).mp3. Duration:

Every song is memorable. Then it's off to the land of silly misogyny with "She Got Me Pregnant ," a pseudo-ethnic in the same way as "Goofing Off" song that's either about a an alternate reality in which women impregnate men and the man feeling angry about being used, or b the woman manipulating the man into getting her pregnant These 3 songs are the most popular warm up songs played at high school volleyball matches in the Fall. Amidst all of the main chunks of the song, though, I've always found the quiet "still there is no sign of you" line as the most impactful bit. Just Got Back From Heaven] This process culminates with the 'Manhattan' disk. The Ultimate Collection by Sparks:

I can't imagine wanting to listen to it more than two or three more times in my life, but I'm glad I listened to it as many times as I did. As often happens with cases where the promotional campaign is particularly inspired, the actual product being promoted is a slight letdown, even if it's got a lot of good material and is quite good on the whole. The biggest change with this album from the previous ones is that the remaining Lil' Beethoven elements from Hello Young Lovers are virtually wiped away; there's a lot of repetition in the vocal parts, but this repetition is much more conventional than on LB or some of the parts of HYL , and the instrumentation, while still based primarily in Ron's keyboards, rarely attempts the faux- orchestral sounds of yore.

For all of the various eccentricities of this album, this is definitely a very normal album in comparison to what they'd done lately; Russell spends most of his time doing actual singing of actual vocal melodies, while Ron uses a variety of keyboard sounds that mostly sound pretty great.

This isn't a good thing or a bad thing in and of itself, but I do suspect that the slightly higher concentration than usual of clearly second-rate material has at least some correlation to the lack of a unifying gimmick for the album. The best demonstration of the issues this album often has is "Strange Animal," which has some decent ideas that feel more like they were superglued to each other than made into a coherent song, and it makes for a pretty problematic 5: There are also a couple of tracks tucked near the end that, if they don't outright suck, are knocking on the door pretty hard.

The rest of the album is really good, though, and the highs are high enough to mostly overcome the low points.

The first half starts and ends with "Intro" and "Intro Reprise," respectively, and they're a delightful bit of Russell harmonizing with himself around the great phrase, "I don't care if you love me, just so you like me" and wordless "aaah" sounds. Immediately following "Intro" comes "Good Morning," an amusing up-tempo song with Russell falsetto-singing about waking up with a woman that's way out his league and not understanding how this is possible, while Ron lays down a fantastic keyboard pattern on electric?

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Sparks by Cover Drive on MP3, WAV, FLAC, AIFF & ALAC at Juno Download

I also really dig the false ending. The second half does have the surprising low points mentioned earlier, but it also has a bunch of really delightful material. Then it's off to the land of silly misogyny with "She Got Me Pregnant ," a pseudo-ethnic in the same way as "Goofing Off" song that's either about a an alternate reality in which women impregnate men and the man feeling angry about being used, or b the woman manipulating the man into getting her pregnant And best of all there's "Lighten Up, Morrissey," a guitar-heavy rocker about a guy who has difficulties with women because he's not as awesome as Morrissey.

Sample lyric: And finally, just when it seems that the album has taken a pretty steep dive after "Lighten Up, Morrissey," the album closer "Likeable" redeems things more than a bit. It really seems like Ron is writing out a sad desperate fantasy here, where he easily gets along with everybody around him and everybody wants to be his friend.

The song is energetic but angry and mournful, with Russell frequently using rhythmic speaking in a HYL manner over the hyperactive keyboard and guitar parts, and except for the semi-cheerful carnival music in the "No-one ever wears a frown The return to the "I don't care if you like me, just so you love me The album's a bit of a mixed bag on the whole, yes, but there's so much really good material that I feel like this grade is justified.

Given that Ron was well over 60 at this point and Russell was nearly as old, this album has to be considered a significant success by any reasonable standard. If you liked the last two albums you'll probably like this one, but be aware that it doesn't really sound the same. The resulting album was about as good as could have been hoped for.

There are definitely some familiar features from LB on here: Beyond these common principles, however, the albums are quite different; there's a lot more guitar here it's actually woven into several songs, as opposed to being lightly drizzled in the background occasionally or used for shock value , and there's a genuine swing in a lot of the songs that hadn't been a regular part of Sparks albums since Indiscreet or maybe bits of Introducing Sparks.

My initial impression on hearing the opening "Dick Around" was that this was one of the greatest things I'd ever heard, one of the most ridiculous tracks I'd ever heard, or possibly both, and I've essentially settled on the "both" choice.

The lyrics tell of the rise and fall and eventual rise of a corporate go-getter who loses his woman and job and eventually gets the woman back, while in the interim he just dicks around, but just describing the lyrics doesn't begin to describe the song. Multi-track faux-operatic rapid-fire Russell is in full-force, with a solo Russell only appearing occasionally making it all the more noteworthy when he does , and the music careens from "How Do I Get to Carnegie Hall?

There are too many interesting moments and lyrics in the song to give a full accounting, but I will say a that the first time the distorted guitars come in during the "Pull yourself up off the ground Plus, this track out-Queens Queen so heavily after Sparks had more or less given birth to Queen that it almost eliminates Queen's need to exist.

The following "Perfume" is a rather fascinating up-tempo mix of piano, bass and grumbly guitars, with Russell matching a bunch of women with the implication that these are all romantic interests from his past with their choices of perfume, and him choosing to be with a girl who doesn't wear any perfume because she won't remind him of any of those women. The next three tracks all have some clearly discernable weakness or another, but I still quite like all of them.

The lyrics describe a guy who keeps getting in fights over his woman, and who keeps offering pathetic excuses like "How can I let it go if I can't control myself? Musically, it's mostly atmospheric piano, but there's a lovely and sad harpsichord bit in the middle, and the emergence of the grumbly guitars near the end always strongly suggest to me an especially bad episode coming on.

It's not the most interesting track in the world, but I like it a lot more than I once did. The version that made it onto a B-side contains lyrics that are surprisingly political and pretty pointed in their silliness, but the album version removes those lyrics and replaces them with Russell reciting the first verse of "The Star-Spangled Banner" instead. Oh well, even without the better verses, the chorus is delightful, and the interaction between the guitars and the bouncy synths make the song fly by.

Basically, the song is about somebody whose significant other is threatening to leave him because he shows no passion in his life, and in his pleading to keep them from going he promises to cast away the soft musical passages of his life and to rock, rock, rock instead.

There's a bit more to the song than just the lyrics and the big bombast of the music for instance, I find the little vocal echoes from time to time intriguing , but those are ultimately the focus, and they're good enough for me.

The second half of the album is really strong, apart from the three-minute waltz-like throwaway of "There's No Such Thing as Aliens," which doesn't so much commit the crime of annoying me as it just makes almost no impression no matter how many times I hear it. And "Here Kitty," while it probably would have been done in a way that would have annoyed me to death had it been written during the LB sessions, ends up as a great exercise in layering different Russell vocal lines on top of each other, and this is a track that I'd love to hear done by a college glee club or something along those lines.

Basically, the organist a is irritated that the bulk of his audience cares more about God than about his performance, and b is totally trying to use his organ playing to pick up girls, targeting those who are inside to get out of the rain more than for any religious purpose.

The music is full of "Hallelujah!

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In the end, I can't really figure out whether I like this album more or less than LB , but the difference either way would only be the tiniest bit, so it doesn't really matter. There are definitely enough small things I didn't really emphasize the repetition much in this review, but there are small moments where repeated bits get on my nerves to keep this from a higher grade, but regardless of exact grade, this album firmly established the Sparks comeback as legitimate, and this makes the album an important inclusion to a Sparks collection.

Or, for that matter, a rock rock rock collection. I really don't know exactly how the inspiration for this album's approach, which I will dub "chamber techno" even though not everything falls under that categorization, came to Russell and Ron, but the idea must have come to them in a pretty short span of time, because they started recording this album about a year after releasing Balls and released it about a year after that.

To the extent that this album at least the first seven tracks; the eighth and ninth tracks need to be categorized on their own has a formula, it can be described as following this pattern: The music is repetitive in a manner that best emulates techno. The instrumentation is stripped down to a minimal number of keyboard parts, often using "orchestral" synth patches.

Percussion is minimal, mostly consisting of an occasional tympani, but certainly not used to generate the primary rhythmic pulse. The primary rhythmic pulse, in turn, comes from the vocals, which tend to grab onto a small number of phrases and repeat them over and over, with occasional vocal asides.

The song is essentially an old man rant against kids and their music these days, but it's done in an impressive manner, correctly noting that bands can out-anger and out-profane each other only so much, and there's something oddly piercing about the "Some might have done what we'll never do" line which comes after namechecking several great musicians near the end.

Over the rest of the song, these two main sections are repeated over and over, in whole and in part, until the final conclusion where the introduction, the chorus, and the "never get it back" sections are largely smooshed together. To be honest, I think that Ron missed a chance for an extra level of subversion especially given the album title which could have come if he'd bothered to put the sections into sonata form which could be done with a little bit of reordering , but overall the song is a magnificent statement, not only as a tone-setter for the album but also a full rejection of its techno-pop past.

Amidst all of the main chunks of the song, though, I've always found the quiet "still there is no sign of you" line as the most impactful bit. I would best describe it as "variations on a theme from two snippets of an unwritten Wings ballad," and I don't love the bits that are repeated not to mention that tapping into the same general idea as "Falling in Love With Myself Again" irritates me a little , I've come to like them. Much better is "Ride 'Em Cowboy," which is propelled by electric piano with occasional synth strings and synth harpsichord draped on top while Russell sings all sorts of brief snippets hinting at stories of going from bad to worse sample lines: Log in to view your wishlist.

Items in wishlist: Items in cart: Add to Wishlist Due to copyright restrictions you cannot buy this product in your country. Twilight Daseca remix.

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